Cave Singers CD release party @ Easy Street 9/25

The Cave Singers - Invitation Songs (Matador)
review by Rachel LeBlanc
photos by Ron Henry

Imagine if the three members of the Violent Femmes had a darker, folksier version of themselves. This new set-up would surely be named The Cave Singers. Before I get tar-and-feathered for such a comparison, let me explain: Both bands have a sort of non-produced, acoustic guitar heavy right-in-the-room with you sound. They both have a darker edge to them. The strong desire to sing along and tap your foot overcomes the listener for both bands. And the way Pete Quirk’s voice rings out in the opening of “New Monuments” sounds eerily like the way Gordon Gano’s voice rings out in the first few moment of “Add it Up.”

But forget comparisons — I could fill up a whole other paragraph with similarities to Fleeetwood Mac. It’s what the Cave Singers have that sets them apart that is worth writing about. On the surface, their sound is dark and bleak. The most common adjective used to describe them is “Appalachian” folk. Well, whatever that means; when I think about Appalachia, I think about buck-toothed in-breds who work their whole lives in a coal mine to die early of Black Lung disease. Personally I wouldn’t want my band associated with that sort of imaginary. But, this description does have its validity, if it’s being used to reference the haunting, down home roots feeling their music carries. Their songs are extremely anti-climatic, sounding as if they are building up tension through their duration, only to release to…their endings. However, even as someone who relishes in a good epic dynamic of build-up and release in songs, I find their lack thereof really refreshing, almost hopeful.
photo

Underneath the dreary darkness of their music though, lie quite poetic songs about love, whether lost or currently lost in it. A peruse of the lyrics reveals a raw honesty of feelings. The girl(s) who this affection is geared towards must have amazing eyes, as eyes are referred to numerous times through out the album. Aforementioned “New Monuments” is an ode to being struck by love and consequently lost.

Other notable songs are “Dancing on Our Graves” which will definitely get you dancing on something. Closer “Called…” is the darkest, and will linger with you long after the CD is done. A trombone breaking through the song sounds like a far-off animal or spirit.

While I’m writing this review, and the Cave Singers have received quite an outpour of press in just the past week since the CD release, no amount of good word will convince someone to get into them as much as just plain seeing them live. I attended the CD release in-store Tuesday night at Easy Street records, and not only is the press noticing, but the listeners certainly are as well. I wouldn’t say the store was packed, but it was sure close to it. If you have any doubts about a “boring” or slow part of their songs while listening to it recorded, the trio brings life to every single moment of a song performing it live. Quirk is a true performer, adding improvisation and extras to his singing, his face twisted into rather strange expressions which are extremely entertaining to watch. Guitarist Derek Fudesco could not look like he was enjoying himself more. Even as their new CD was being released that day, they teased us with an even newer song. If that song was a preview of the future of the Cave Singers, then bring it on.

Joy Wants Eternity @ John in the Morning at Night 9/22
photo by Dan Muller

Interview by Rachel LeBlanc:

For our KEXP John in the Morning at Night show, we were proud to have Joy Wants Eternity as the opener for the on-air show. I caught up with guitarist Michael Sterling for a moment to get the scoop on their recent tour, Beep Repaired and for his spot on local scene-focused “glocal” documentary. If you want a soundtrack to listen to while reading the interview, check out this track:

Joy Wants Eternity- You Are The Vertical You Are (MP3)

Me: So I believe you’re the one who placed the ad in The Stranger for the call of musicians, which initially brought in 17 responders. Do you place ads quite often? [imagine a smirky tone]

[Laughs] Ha ha, no no, I’ve had all my fantasies fulfilled from just that one.

I noticed every other interview or media article seems intent on the fact your sound is “post-rock.” But, personally what type of music do you guys listen to?

Everything, definitely. It’s funny because we’ll do an interview for a post-rock focused media outlet, and they’ll start tossing out the names of this or that post-rock band. We’ll tell them we have no idea who they’re talking about, and they’ll act shocked! As if we know all about the genre because we have that sound.

You went on West Coast tour earlier this year — what is a really interesting story that happened?

It was crazy to have people come out from the internet. A 17-year old kid from nearby Oakland, CA, emailed us to ask if there was anyway we could try to sneak him into the 21+ show we were playing in the city. We suggested that maybe they could pretend to be roadies for us or something. When we arrived to the show, there were these two very shy kids standing out front. They admitted they had driven over an hour just to try to sneak into this show and see us. But the doorman at the club was very strict — he even asked us for our I.Ds. The kids weren’t able to get in, but we still hung out talked to them for about 45 minutes, maybe an hour. We could tell they were nervous just to talk to us! It was a very humbling experience.

There are now videos added to your shows as a backdrop. Do you ever become distracted by them yourself while playing a set?

Yeah, [laughs] I do sometimes. I’m the one who puts them together, and I usually try to time them with the set. I get distracted sometimes watching them to make sure we’re on time.

Do you ever look around and notice the other guys watching?
[laughs] Yeah, sometimes I’ll look around and they’ll be looking up at the screen.

You are part of the label Beep Repaired, as well as their Family Orchestra. What is the story behind the “orchestra”?

The birth of the Family Orchestra came about from the band Dark Meat, who play with 20 people on stage. Beast, Please Be Still was going on tour with them, and they thought it would be cool to form a similar large orchestra as well. As we are friends and on the same label, they asked if we would want to be part of it. The Family Orchestra is made up of about three bands and various individual musicians. It was really easy for us because we share a practice space with Beast, Please Be Still. We’ve only had two shows, the second we all dressed up in costumes. I was a pirate, there was a penguin, and a band conductor.

Also, the documentary Glocal incorporated you. How were you involved and what are the details?

A group of film makers traveled all across the world, documenting the local music scenes where they went.

Wow, it’s about time someone did that!

Yes, definitely. They contacted Beep Repaired and asked if we’d like to be featured. They came out and taped a show, then interviewed us about the local music scene. It’s still in the works to be released though.

Now that you’ve done all of this, what is currently going on with the band?

We’re just taking a break, working on new material. If an interesting show was offered to us, we’d definitely be willing to come out.

photo by Mike Baehr

Tuesday and Wednesday are the new weekend. At least, this week they are!

We imaginary girls have complete compassion for the dayjobbers out there – that is, we understand how hard it can be to roll into work after an evening of rock and roll merriment. We’ve done it many, many times ourselves. And this upcoming week, we’ve got a Tuesday and a Wednesday night show recommendation that we’d like to think you shouldn’t miss.

Even if it means an extra shot of liquid happiness in your morning latte and a couple of stifled yawns in that (totally boring) meeting you’ve got the next day.

Tuesday, October 2: The National/St. Vincent, Showbox
The last time The National came to town, igDana stood outside the side entrance to Neumo’s and watched them, entranced, from a cold Pike Street vantage point. The show had sold out, see. Do NOT make this same mistake, especially as the ehtereal and amazing St. Vincent will be opening the night with her haunting tunes of love and loss. Her double shot of Bumbershoot shows – especially the KEXP “secret stage” show – had us gasping for imaginary breath with their pared-down beauty.

Wednesday, October 3: The Goes Theres/The Stript/Sleeping in the Aviary
One of our collective sleeper-favorite-records-of-the year has to be Oh This Old Thing by Madison, Wisconsin’s Sleeping in the Aviary {gushing imaginary review}. With the charming lo-fi hooks of the Thermals More Parts Per Million, the self-deprecating wit of Art Brut (sans the accent, of course), and the straight-ahead rockout cause you can sensibilities of the Buzzcocks, the Libertines, the Kinks… too much? Maybe a little, but we’re seriously into this record, and we’re THRILLED to be able to catch them on this tour (the last time they came to Seattle, we were away at SXSW).

Tuesday, Wednesday, break our hearts,
three imaginary girls

High iPod rotation:
Pains of Being Pure at Heart
The Cave Singers
Patience Please

(Three Imaginary Girls is a Seattle-based website that showcases the great music of the Northwest and beyond to music lovers worldwide. We post a Settle live show calendar to help you fill your day-planner with loads of great shows, as well as record reviews, live show reviews, and an imagi-blog to entertain you throughout the day.)

The Feral Children in the KEXP studio 9/27
photo by Scott Steinbright

Recommended Local Shows (9/28 - 10/4)

This week is crazy jam-packed with several really great local bands, and even a local stencil artist. And whoa, three free events in a row!

Friday 9/28: The Whore Moans (Garage Punk) @ Blue Moon Tavern FREE 9 pm
Ok, I really don’t know how these guys are going to follow up their crazy patriotic-themed Bumbershoot performance, but I suppose that’s why I’ll be going, I must see. These boys are loud, and they don’t screw around — this is no pseudo-punk, wannabe band. I HIGHLY recommend to arrive at the beginning of the show, as their pals and fellow local band Red Rapture will be opening. Red Rapture is definitely one of the best unknown Seattle bands currently. Plus, why not head over to the Blue Moon early to get in a few more drinks, as this show is to help raise funds for a new PA.

Saturday 9/29: Red Bull Soap Box Derby @ Fremont Avenue FREE 11 am
Spend Saturday afternoon watching 36 daring individuals fly down the hill in make-shift (can we really call them vehicles?) transportation devices that cannot be “mounted, screwed into or glued” and with no “engines, gas, batteries, electrical cords or catapults.” I realize this isn’t a band event, but c’mon! As their website states: “this is not your average boy scout derby –- not when five-foot pickles, a horizontal troll and coffins with wheels race down the track.” Hmm…horizontal trolls, eh?

Monday 10/1: Ghost Gallery Presents: Stencil Artist Larry Cyr @ Neumos FREE 9pm
The local art showcase curator Laurie Kearny is hosting an art showing at Neumo’s for the local stencil artist Larry Cyr, whose works are often different media images layered to create new striking political and socially conscious statements. If you don’t get a chance to attend the opening, you can still check out his work when you’re at the venue in the next few weeks.

Tuesday 10/2: Mt. Eerie (Highly experimental/indie) @ The Vera Project $8 ($7 members) 7:30 pm
Mt. Eerie, aka the Microphones, aka Phil Elverum — the man is cornerstone of the local music scene, who’s had nearly everyone in the area as a guest it seems. Reportedly no two shows are exactly alike, so who knows what he’s going to come up on stage with next. An acoustic guitar, a full back-up band, or a steel drum? Yes, one time he played his songs solely on steel drum, using the same notes as he would a guitar. Obviously not one to miss. Local winner of the Esurance commercial song at this year’s Capitol Hill Block Party, PWRFL Power, will be an opener.

Wednesday 10 / 3: Hungry Pines (Classic Rock/Indie-rock) @ The Crocodile $6 9 pm
This band was called out on Three Imaginary Girls as “a band to watch for” (wink, wink). The foursome has members from various other local groups, such as Joules and The Conversation Heart, and some work at Bear Creek studio. They blend sounds of classic rock with indie rock. You’ll probably leave with a crush on singer Irene Barber. Openers Mono in VCF are surely a bonus to this show, so come out early to catch them as well.

Thursday 10 / 4: The Trucks (Electro-pop) & Feral Children (Rock/indie) @ the Crocodile $7 9 pm
Return again to the Crocodile on Thursday for another pair of promising Seattle bands. Feral Children are said to live up to their name during their live shows. They are also finally releasing their full length after receiving much notice in local press for just their demo. The adorable foursome The Trucks will undoubtedly be on stage playing with an arrangement of oddball clothing, shaking their asses and inducing you to do the same. This show will be the start of their current tour, so wish them bon voyage!

This Saturday on Audioasis, Hannah Levin will host H is for Hellgate and Levator

H Is For Hellgate

Progressive indie pop band H is for Hellgate will be performing live on Audioasis at 6pm. H is for Hellgate is very guitar driven combined with a pop style and sing-a-long choruses. This band also contains singer/songwriter Jamie Henkensiefken and Ben Baier from We Wrote The Book On Connectors. Reasons to listen to the show: Find out what a Hellgate is and who likes Tina Fey!

H Is for Hellgate - Belt of Lights (MP3)

Levatator
Shoegazer rock band Levator will be sharing some of their Psychedelic tunes with Audioasis Listeners at 8pm. Sky Lynn fronts Levator and is also known for playing in another local project called Blue Light Curtain.

For some pre-purchase listening action, check out Levator’s myspace page.

collage by Derrick Chamberlain

Every Monday through Friday, we deliver a different song as part our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJs think you should hear. Today’s featured selection, chosen by Morning Show host John Richards, is None Shall Pass by Aesop Rock from the 2007 album None Shall Pass on Definitive Jux.

Aesop Rock - None Shall Pass (MP3)

Aesop Rock is incapable of dabbling with the same sounds for too long. After coming to the underground’s forefront with 2001’s Labor Days, Rock’s progressiveness hasn’t waned a bit. To shake things up this time around, he moved from New York to San Francisco and, in addition to recording the new album, took part in some interesting side projects. After being approached by Nike, Aesop Rock produced All Day, a 45-minute mix to make runners forget that they’re running. He also found time to work with San Francisco artist Jeremy Fish, who also did the album cover art, on a short story about the creative process entitled The Next Best Thing. The experiences of Aesop’s last two years have led to the best album of his career, thanks also to the production skills of labelmates Rob Sonic and El-P. Listeners will be both surprised and delighted to hear more live instrumentation on the record, including a kazoo solo on the last track. And instead of reaching out to hip-hop bigwigs, Aesop Rock chose to collaborate with the likes of John Darnielle of the Mountain Goats, who appears on the song Coffee. The rest is Aesop Rock at his lyrical best, maintaining his relevance and stature for years to come. Aesop Rock appears at the Showbox 10/28. Check out his MySpace page for several other Northwest show listings — speaking of which, here is Aesop Rock performing the title track, None Shall Pass, during our broadcast from Musicfest NW earlier this month:

Leon Berman, One I’d Marry, and the Roy Kay Trio
photo by Jim Bennett

As the Shackmaster Dr. Leon Berman would say, “The liver is evil, it must be punished.” And punished it shall be this weekend, starting tonight with the 20th Annual Shake The Shack Rockabilly Ball. September 27-29 at the Tractor Tavern in Ballard, Leon Berman and the Shake the Shack crew will commemorate the 20th year of The Rockabilly Ball, the longest running rockabilly festival in the United States, with a three day celebration.

Thursday, 9/27/2007 Billy Joe & the Dusty 45’s The Roy Kay Trio Marshall Scott Warner Band Special All Star Band Tribute to Sun Records with special guests Friday, 9/28/2007 The Cathouse Creepers Omar & the Stringpoppers Chuy & the Bobcats 18 Wheeler Hillbilly Casino Saturday, 9/29/2007 Johnny & the Blades The Go-Getters The Mezcal Brothers The Honey Bees

Plus catch the Shake the Shack Hot Rod Car Show at the Shanty Tavern, located at 9002 Lake City Way NE, Seattle, on Saturday, September 29 from 10 a.m. to 3 p.m., featuring live music from Billy Dwayne and the Creepers, The Killer Saints, The Black Crabs, Mama Tried and The 1, 2, 3, 4’s. The show is open to all vehicles whose owners feel they are special enough to be shown. Trophies, awards and dash plaques will be awarded to top entrants. There is a $10 fee to participate.

The punishment doesn’t stop there! This weekend marks the beginning of A Drink for the Kids, the 5th annual benefit for The Vera Project. A Drink for the Kids will start Sept. 29th with different bars and neighborhoods participating each day. By simply walking through the door and ordering a drink, you can raise funds to support The Vera Project. On Saturday, 9/29, enjoy the Redbull soapbox derby race from the beer garden. On Sunday, 9/30, have brunch at Smarty Pants (Georgetown), and spend evening at Moe Bar and Lindas (Capitol Hill). On Monday, 10-1, drop by West 5 (West Seattle), and then on Tuesday, 10/2, head over to Hattie’s Hat (Ballard), where our own DJ Chilly will be spinning. The Grand Finale shows at Triple Door on Wednesday 10/3 and Thursday 10/4 feature intimate acoustic performances by Greg Dulli (Afghan Whigs, The Twilight Singers), Petra Hayden and Jeff Klein.

Grand Finale tickets can be purchased at the Triple Door, but all other events are free — it’s the booze you buy that helps the kids! It’s only your liver that will suffer!

KEXP is proud to present Live at KEXP Volume Three, a limited edition CD featuring live, one-of-a-kind, in-studio performances by The Long Winters, The Shins, Frank Black, Cloud Cult, Under Byen, The English Beat, Peter Bjorn and John, Billy Bragg, and more! 100% of the proceeds benefit KEXP programming.

For the next few months, we’ll be bringing you insight into the performances, the making of the compilation, and even the artwork itself. This week, we feature Grizzly Bear, who contribute a version of “Knife,” originally found on their most recent release Yellow House. Cheryl Waters remembers:

“The Grizzly Bear session at KEXP was one of the most haunting and beautiful in studio performances I’ve ever witnessed. Their faraway sound and enchanting echoing vocal harmonies gave me goosebumps. The room was completely still and the air actually felt palpably thicker. I was absolutely mesmerized as I sat there holding my breath, for fear that the slightest inhalation would break the spell under which the band held me utterly captive.”

Check out these great photos from the session by Allie Lazar:

Listen Now

To support KEXP by purchasing Live at KEXP Volume Three, go to our website or, if you’re in the Seattle area, to one of the many local independent retailers.

The week began full of rumor and speculation. As White Stripes fans dealt with the cancellation of the bi-chromatic band’s recent tour, attributed by their website to Meg White’s “acute anxiety,” a particularly nasty rumor arose of an alleged sex tape of her and a mystery man. That of course spawned lots of jokes about Meg’s rhythm and a spate of images of her biting her lip or posing (unintentionally) suggestively as she plays. Finally, TMZ and others reported the tape a hoax. The White Stripes’ publicist added, “publicist: “Some people have a very twisted sense of humor and this prank is in particularly bad taste. The tape circulating on the internet as featuring Meg White is fake. It’s definitely not Meg.”

Meanwhile, Jack White, whose other project The Raconteurs are scheduled to open for Bob Dylan in November, took the stage with Dylan at the Ryman Auditorium in Nashville last Thursday. Here’s a clip of Jack and Bob performing “One More Cup of Coffee”:

Radiohead teased fans with undecipherable clips and cryptic messages on their blog Dead Air Space earlier this year, but starting last week, a series of hieroglyphs have appeared, causing would-be sleuths to create ciphers like this one:

…and attempt to speculate messages supposed messages like “Yes we are still alive” (easy) and “Blink your eyes one for yes two for no code code code” (harder). Check out the fan-run Hodiau Direkton for updates and supposed cracks. Could a message supposedly reading “march wax” mean that the LP7 will hit stores in March? Apparently, cracking the alien code is only the first step.

And speaking of aliens, Kasabian frontman Tom Meighan has just purchased the original Kuwahara BMX bike that Elliott rode in the 1982’s E.T.: The Extra-Terrestrial. According to The Sun, Meighan tracked down the owner, who was reportedly putting the bike up for sale, and negotiated a price of over £10,000 (that’s over $20,000 for us yanks). Meighan, and apparently the rest of the band, are huge fans of the movie and toured Skywalker Ranch while touring through San Francisco. The article claims he even has “a lifesize model of ET on its way from America.”

Welcome back to another installment of Review Revue, where we expose the seething, pulsing heart of an independent radio station to public scrutiny. For those of you who thought the debate around Green Mind was contentious, you ain’t seen nothin’ yet! For some serious sniping, it helps to go back into the vinyl era, when people had a full 144 square inches in which to make (and remake, and rebut, and clarify) their point. The cover to Public Image Ltd.’s album Album (also referred to in other editions as Cassette and Compact Disc) appears to be the mid-80s version of an Internet flame war, with people writing their comments, other people writing their comments, and then earlier people coming back and rebutting those comments quite heatedly - after the smoke had cleared, you could hardly see any of the trademark generic album art behind all the stickers. So what is it that had everyone so up in arms?

In 1978, following the breakup of The Sex Pistols, John Lydon formed this group, which released around a dozen albums, and had at least that many lineup changes over its 14-odd year career. Originally led by Lydon and ex-Clash member Keith Levene, and rounded out by the powerful rhythm section of Jah Wobble and drummer Jim Walker, over the years the project morphed into pretty much whatever Lydon wanted it to be (a point several commenters below are very keen on driving home). As noted, the lineup of PiL had changed a lot over the years, but this was the first with Lydon as the only original member (Walker was the first to go, replaced by Martin Atkins on drums; Wobble followed soon after, accused of stealing PiL tracks for his own projects; Keith Levene held on until this particular outing). And the personnel he ended up using instead were (as you can see below) baffling to many: Bill Laswell (OK, no stretch there), Ryuichi Sakamoto (hm, that’s interesting), Ginger Baker (of Cream? Woah!), Steve Vai (???????????????????????!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!). To be honest, I haven’t listened to this album in many years, but reading these comments really makes me want to put it on and see what the hubbub was all about - as I recommend you all do. I’ll let the passionate, highly opinionated reviewers of KCMU take it from here:

“Generic, featuring Ryuichi Sakamoto, Ginger Baker, Steve Vai Vie, John Lydon & Bill Laswell. This Kicks.”

“Oh my god! Even I like this! Am I maturing musically, or am I succumbing to peer pressure? ‘Ease’ is just plain great! At any rate, if all you old PIL fans slag this, I will lose all faith in the human race!”

“Ass-kicking. Face melting. Cranium imploding. Eye-gouging.”

“Oh god this sounds like early 80s dino-rock like “Who Are You” by The Who. PUT IT TO REST for God’s sake.”

“This is amazing.”

“If he would have the decency not to call it “PiL,” I might be able to make a different judgement. As it is, this besmirches the name and memory of everyone who really made PiL what it was - Wobble, Levine, and Atkins, Alfred. [I have no idea who "Alfred" is.]
“P.S. George said ’sounds like The Who.’ Neil heard him, to. [sic]”

“PiL, unlike you’ve ever heard them before. Trust me.”

“What I like is some people think that a band has to sound the same year after year. If you want to hear old PiL, then pull out Flowers of Romance! Sheesh!”

“I don’t want to hear the same sounds, I want something different. This is not different.”

“PFF sounds like ‘Get it on.’”

“I just think it’s funny. I mean really, kids.”

“Face it folks, Lydon does what he wants. He’s probably glad some of you don’t like it. Besides, it’s nice to see he’s got a sense of the bizarre by getting the people to back him on this LP. He still rants ‘n’ raves, but it is different - OK, so one track bears a passing resemblance to The Who, but don’t judge the LP on that. Getting people out of their normal environment, I think, gave Lydon the push he lacked on the previous LP. But Lydon’s been unhip since “Metal Box,” so what do I know?
“(OK, Marsh, I can go overboard as much as you.)”

“Well yes, a big beat + it rocks + yes, it’s kind of funny for PIL. I like.”